Paris Rocks

... And Rolls With A Newfound Excitement.

Fashions For Fall Swing And Explode With Color.

March 27, 1991|By Nadine Frey, Special to the Tribune.

WRITING FROM PARIS — The resounding message that came out of the Paris ready-to-wear collections is that the dark days are over. Not only did color light up the runways, but the dark mood of winter that hung over the couture shows in January-weighted down by the Persian Gulf war, a weakened dollar and recession-has given way to a cheery, warm weather optimism that was felt across the runways here.

For sheer spectacle, the Paris shows were a tour de force. Jean-Paul Gaultier dedicated his show to the omen of Toulouse-Lautrec and the Moulin Rouge-with models in sprayed-red chignons and merry lace-up boots. Just when you thought nothing could top the figure skaters Gaultier sent out at the end of the show for entertainment, the designer himself appeared and did a boisterous can-can for the crowd.

American executives from all points gave four stars to Paris` fall/winter looks. ``Just great. What would we do without Paris fashion,`` said Bloomingdale`s vice president of fashion direction Kal Ruttenstein. ``Very up,`` said Macy`s vice president and fashion director Ellin Saltzman. ``We needed a shot in the arm and we got it in Paris.`` And Joan Kaner, senior vice president and fashion director of Neiman Marcus, called the week

``exuberant.``

Among the broad trends coming from Paris this season were big coats, plaid, color (every hue in the red spectrum) and the mix-and-match look. Hemlines were both up and down-down meaning longer than midthigh. Midcalf skirts were shown by such designers as Emanuel Ungaro and Gaultier, but they were not a general trend.

Chanel

For Chanel, Karl Lagerfeld set the mood for his street- and rap-inspired collection with some raunchy Madonna melodies and models swinging leather and chain bondage gear tied to their wrists.

Lagerfeld, as usual, reaped praise not only for his profusion of ideas but for his inventiveness in creating even more new jacket styles for the house of Chanel. But it was his bodysuits that had the audience applauding and cheering. Gold and silver second-skin catsuits went under everything from brightly colored coats in pyramid shapes to filmy black chiffon dresses that allowed a glimmering golden glow to show through. There also were some fishnet bodysuits but, needless to say, the Goldfinger styles were the ones that retailers could visualize in their own fashion shows, come August and September. The new Chanel jackets-frequently long-often flare out from fitted waistlines or gently caress the body. Most of the daytime hemlines stop just above the knees. Lagerfeld`s favorite tops with these suits continue to be cotton T-shirts rather than formal blouses.

The energy that seemed to reverberate throughout Paris struck a high point at Oscar de la Renta`s presentation in the courtyard of the Louvre. Marking the first time an American showed here, de la Renta was awarded a standing ovation at the show`s end as his teary-eyed entourage-including former assistant Carolyne Roehm, wife, Annette, not to mention a bewildered Dolph Lundgren and a bored-looking Inez de la Fressange-looked on.

De la Renta-feted by everyone from Marie Helene de Rothschild to Yves St. Laurent-pronounced himself ``moved`` by the experience, while Roehme confessed to be floored by the sheer size of the Paris showings, many of which she and de la Renta checked out during their week stay here.

The collection echoed his jubilation. Striped coats swung freely over sweaters, tights and boots that inched up over the knee. Sheared mink coats worked into plaids of green and red or yellow and black were eyepoppers. And, speaking of color, the designer`s upbeat combinations were notable: apple green with fuchsia and red with yellow shown in plaid suits and coats. These daring medleys provided an appealing counterpoint to the longer skirts he bravely introduced.

For daytime, de la Renta offered fitted coats in plaids or solid colors with full skirts that curve over the hips. For evening, the striped coats reappeared shorter and in satin. Soutache embroidery, silk plaids with metallic glints and jewel encrustations and gold bands on black velvet made the night clothes shine.

Montana

Claude Montana continued to evolve the modernistic shapes he has been showing for several seasons rather than going off in a revolutionary new direction. Yet, retailers continued to call him a ``fashion powerhouse`` and his collection masterful.